Misc. Open DV from 2006

[Jim Rog]

Hello

I came across a clip on here about 5-7 months ago its about a man who wakes up in the morning his alarm clock is buzzing i think it shows 6 am or something and he goes to the bathroom goes to toilet turns the tap on and heads to work then gets in a lift and when he’s at work he takes this drug and then something happens to him that’s as much as i can remember. it’s a very well shot clip and the camera is fast moving switching angles all the time i have done a search and put in "drug" "pill" came up with lots of topics but none of them seems to be the one i want. if you do know this short piece i am on about please post a link or the video i would be most grateful. i just wanted to watch it again since it was so well done but i just cant find it any where

Thanks

[Jad Meouchy]

35mm lenses are top priority. That said, I am not sure how to proceed as far as which camcorder to get to have the best value 35mm adapter. I have been leaning towards the HD10U because of HDV, but now I am thinking about an XL2 body or a DVX100a because I'll ultimately be using the 35mm lenses all the time. I am trying to understand whether the XL would be the easiest to accept these lenses. Since it is designed for interchangeable lenses, isn't the 35mm adapter a pretty simple (read: cheap)thing?

I do a lot of point-and-shoot and almost never use artificial lighting. 30p is preferred, but I guess I could do 24p. Is there a big difference in quality between 30p and 24p on the DVX or XL?

Assuming that everything is setup perfectly and color correction in post is a non-issue, will the HD of the JVC really help?

Which route do you experienced users recommend? I have listed these in descending order of my preference
-DVX100a with 35mm vibrating adapter assembly thing - 4:3 is a major disadvantage, though
-HD10U with 35mm vibrating adapter assembly thing - cheap 16:9 HD
-XL2 body with simple 35mm adapter - a little out of my price range

I'd like to spend less, so I'm leaning towards the DVX. What I really want is an HD100, but I can't rationalize such a big step.

[Lauren Capone]

How might one play separate video content on 6-12 individual screening units (projectors, flat screens...) from a central unit, ideally from a Mac storing the video? Does anyone know of equipment/software that makes this or a similar equation possible? I guess another route to display multiple videos on separate screens might be to use PMPs, but I like the idea of controlling the content centrally, like a video jockey.

Update: I searched 'video jockey' and found some useful links.

[Alex Butterfield]

I need to export from Avid to edit in Combustion 3 (or 4) however, nomatter what format I export the quality in combustion is terrible, the image is pixelated and just really low res looking. the best i can do is to double up the image size of a tga sequence which makes 20 seconds of footage around a gig.

(I'm aware of the preview quality, and I've set that to best.)


I just want to know the best workflow for Avid to combustion and back without losing image quality.

I've tried QT reference out of Avid and when I play that back in QT it is great, but as soon as it imports into Combustion the quality drops, i cant find any import options or anything, are there any?

at the moment I'll stick with a targa sequence as double resolution but I hope someone can shed some light because its baffling me.

Thanks

Alex

[Damian Hickey]

We have set up low cost arrangement for a two camera studio for live streaming. We are using two NV-GS300 cameras, connected via AV to a crunch switch and another camera on the other side of the crunch switch to convert back to digital for the live feed. Sound is added at the converter camera.

Previously in our tests, we used a Sony camera to receive the AV in and it worked fine. But have now found the extra NV-GS300 we wanted to use for this does not support AV in.

What is the most economical way of replacing the crunch switch with a digital alternative? A whole camera just sitting there is not a very sensible solution to me. Any thoughts?

Cheers,

Damian

[Brian K Jones]

I am trying to gather opinions on real world usage of Instant HD. I have an XL2, and I am considering purchasing the software. Anyone had any good or bad experiences with it?

[Dan Farzad]

I am shooting my first commercial using actors and actresses.
some that replied say i am a non union actor some dont mention.
what is the difference?
is there anything i should keep in mind>?
also where can i get special contracts to clear stuff with them?
what should i keep in mind when working with these people?
during the shoot how much food should i provide for them considering that its a low budget commercial?

thanx for your help

[Yegor Sak]

I have been capturing using an analogue capture card for a while, and I recently switched to Firewire.... and Im having a few problems. One of them, is that the video looks very interlaced.

When I was capturing using my video card, there was an option to de-interlace the video upon capture, so it looked pretty good.

Here is a demo/test shot I took a few nights ago. Its sped up a few dozen times, but the normal speed version looks just as bad.

http://www.planetboredom.net/o2/cars_interlaced.mpg

[Fred Finn]

Hey All,
I've been out of the latest processor loop for a bit, so I'm looking for some info. I'm looking at upgrading my CPU and MOBO to accomodate ediitng with an HVX200, on Vegas via. Raylight. (or avid if raylight just isn't working for me)

I currently have Athlon 64 3500+. 2 GB's of Ram, 250 GB, 200GB and two 80 GB's (in striped raid). Do I really need to upgrade? Or can I get by with what I have.

I was thinking that it would be pretty slow going, but I could be wrong.

[Shane Miesse]

ok, im trying to find some information for a project, im currently looking for what an average casting director makes per film, assuming of course this is an average film, and that all other factors are roughly average. Does anyone have a figure thats in the ballpark, there are so many factors affecting it that i cant find any good info. Just as an example, lets use the film Pretty Woman and the like, ya know, not a big CGI film or something like that, just an average film

[Mike Moncrief]

Hello,

I am fairly experienced shooter and have done quite a few greenscreen shots.. but will have new challenge this week.. Will be on a shoot, at an airport.. where talent will be in a small cessna plane..(will not leave the ground) Some shoots will be interior, and some outside looking into plane etc.. obviously at times it will need to look like they are flying in the plane.. will try some creative angles.. but if i have to resort to greenscreen.. i am worried about the glass around the cockpit.. If i setup greenscreen outside of the glass and shoot from the interior, not sure how well that will work when pulling the key and inserting the clouds..(will use ultra 2 for keying)
Or maybe will just remove glass and make in CG?? Not sure.. anyone have any advice on this type of shooting??

Thanks,
Mike m.

[Erik Lizee]

Hello,

A little background- I work for a hands-on science museum. We would like to do a weather reporter green screen exhibit to let kids have the experience of doing the weather like they see on television. I have seen this type of exhibit at other museums but have never been impressed with the quality of the final product. I have a few years experience in production work, but have no experience with chroma key technology.

I would like advice on a camera, lighting, hardware live keyer (not computer based), and a green screen laminate or paint (fabric will be too fragile). To give you some budgetary info- we are looking at a 3-chip camera head and lens in the $4K range, Kino-Flo lighting in the $3K range, and keying hardware from $1-5K (DataVideo to Ultimatte). I would like to get the most bang for the buck like getting a less expensive camera and a better keyer if that would be more advantageous. We are a non-profit and if I can get a good final product for less I’m all for it.

This exhibit will not be staffed and will run 7 days a week and we hope to get at least a year or two operational time with necessary repairs and some equipment replacement.

I realize that this is asking a lot especially as a first-time poster. Any advice would be appreciated.

Thank you for your time.
Erik Lizee

[Paul Dhadialla]

Hi folks, has anyone had luck with a good wireless video transmitter?

I bought one a while back - for transmitting video from camera to screens in a reception hall - it was fine as long as the camera is still - but once you move around - its useless - signal breaks up. It was a 2.4 Ghz based system for about $350.

I don't want to go to something quite as powerful or expensive as a microwave based system - but something that will provide line of sight or otherwise transmission without breakup. A 200-300 FT range would be ok - the smaller the better

What about something like the Laird Waveshot?


Thanks :)
Paul

[Alfred Wirtenberg]

My experience to this point is with a PD170 and lesser camcorders. I expect in the foreseeable future to obtain a 1/2 inch or possibly 2/3 inch CCD camera. After extensive research on the net I still do not have a clear understanding concerning interchangeability of, specifically, Canon and Fujinon lenses among Sony and Panasonic cameras. I have seen cameras and/or lenses specified as "B2 mount," such as the Sony DSR400; as "B4 mount," especially on older Betacam SP equipment; and as simply "bayonet mount," such as many of the Panasonic cameras. I would appreciate any guidance as to the constraints on lens interchangeability (within a given CCD size, obviously). For example, will a high quality 2/3 inch B4-mount lens on an older Betacam SP camera fit on a modern 2/3 inch DVCPro camera specified simply as "bayonet"? Will a B4 or a "bayonet" fit on a DSR400? Where can I find a definition of B2, B4, etc? Thanks in advance.

[Aaron Koolen]

There's a few of you floating around I see from time to time, so on the off change you catch this, our team is in need of a camera op/dp for the 48 hours in a couple of weekends time.

We're a mix of industry experience and inexperience but most of us have done the 48 hours before once or more. I'm directing so don't want to do camera if I can help it so we need someone competent (We have a DVX102B) who can take the cam and fly with it, take direction, give good input and get the job done. If you have your own camera (XL2 or such, but progressive please) that's fine too, we can use that.

So if you're sociable, competent and can both work your butt off and have fun at the same time, PM or Email me from this site and I'll get back to you.

Cheers
Aaron